of these dances and plays. [20] The Mediaeval Stage, Vol.  III. p. 202.  It would be interesting to know the precise form of this ring; was it the Pentangle? [21] Cf. also Mysterium und Mimus, pp. 110, 111, for a general description of the dance, minus the text of the speeches. [22] Pp. 186-194. [23] Cf.  Folk-Lore, Vol.  XVI. pp. 212 et seq. [24] I would draw attention to the curious name of the adversary, Golisham; it is noteworthy that in one Arthurian romance Gawain has for adversary Golagros, in another Percival fights against Golerotheram.  Are these all reminiscences of the giant Goliath, who became the synonym for a dangerous, preferably heathen, adversary, even as Mahomet became the synonym for an idol? [25] Cf.  Mannhardt, Wald und Feld-Kulte, Vol.  II. pp. 191 et seq. for a very full account of the Julbock (Yule Buck). [26] Cf.  Folk-Lore, Vol.  VIII.  ‘Some Oxfordshire Seasonal Festivals,’ where full illustrations of the Bampton Morris Dancers and their equipment will be found. [27] Cf.  The Padstow Hobby-Horse, F.-L.  Vol.  XVI. p. 56; The Staffordshire Horn-Dance, Ib.  Vol.  VII. p. 382, and viii. p. 70. [28] Cf. supra, pp. —–­, —–­, —–. [29] Cf.  Legend of Sir Perceval, Vol.  II. p. 264. [30] See English Folk-Song and Dance by Frank Kidson and Mary Neal, Cambridge, 1915, plate facing p. 104.  A curious point in connection with the illustration is that the Chalice is surmounted by a Heart, and in the Tarot suits Cups are the equivalent of our Hearts.  The combination has now become identified with the cult of the Sacred Heart, but is undoubtedly much older.

CHAPTER VIII

[1] Cf. supra, Chap. 5, pp. —–­ —–­; Chap. 7, pp. —–­, —–. [2] Mysterium und Mimus, p. 369, Der Mimus des Medizinmannes. [3] Cf.  Chap. 5, pp. —–­, —–. [4] Op. cit. p. 371 [5] Op. cit. pp. 78 et seq. [6] I would draw attention to the fact that while scholars are now coming to the conclusion that Classic Drama, whether Tragedy or Comedy, reposes for its origin upon this ancient ritual, others have pointed out that Modern Drama derives from the ritual Play of the Church, the first recorded medieval drama being the Easter Quem Quaeritis? the dramatic celebration of Our Lord’s Resurrection.  Cf.  Chambers, The Mediaeval Stage, where this thesis is elaborately developed and illustrated.  It is a curious fact that certain texts of this, the ‘Classical’ Passion Play, contain a scene between the Maries and the ‘Unguentarius’ from whom they purchase spices for the embalmment of Our Lord.  Can this be a survival of the Medicine Man?  (Cf. op. cit.  Vol. ii. p. 33.) [7] Bibl.  Nat., fonds Français, 12577, fo. 40 [8] Bibl.  Nat., f.  F. 1453, fo. 49.  Parzival, Bk. x. ll, 413-22. [9] Lanceloet, Jonckbloet, Vol.II. ll. 22271-23126. [10] Op. cit. ll. 22825-26. [11] Op. cit.  Vol. 1. ll. 42540-47262. [12] Op. cit. ll. 46671-74. [13] Op. cit. ll. 46678-80. [14] Cf.  Loth, Les Mabinogion, Vol. ii. p. 230,